EXECUTIVE DECISION
Written by
JIM THOMAS & JOHN THOMAS
April 1991 Draft
FOR EDUCATIONAL
PURPOSES ONLY
EXECUTIVE DECISION
FADE IN:
TITLE SEQUENCE.
OVER BLACK. On the main title "EXECUTIVE DECISION," we
FLARE OUT TO WHITE and INTO a blazing sun, situated in
the intense blue sky of the Mediterranean.
1 OMITTED 1
thru thru
13 13
14 EXT. HOTEL COURTYARD (NICOSIA, CYPRUS) - LATE AFTERNOON 14
FROM the sun we SLOWLY TILT DOWN INTO the courtyard, the
MOVE ENDING as an explosion of white doves, fluttering
into the air, revealing a Muslim wedding party, the
guests gathered around the bride and groom, both early
20s. The attendants are all well-dressed, affluent
Arabs, most in western attire.
SUBTITLES: NICOSIA, CYPRUS
Cautiously, the bride looks up, toward a balcony... Where
four men, strategically positioned, watch the proceedings
below. The men, all Arabs in casual western attire, are
focused not on the wedding party but the balconies and
windows around them. Deep in the shadows, a fifth man,
wearing dark glasses, is barely visible.
15 EXT. BALCONY - LATE AFTERNOON 15
The fifth man emerges, removing his dark glasses: the
terrorist ABD SA'UD JAFFA, a name synonymous with death.
of medium height, late 50s, he imparts an instant, chill-
ing presence: skin soft and paunchy, dark circles of
flesh beneath his eyes -- heartless, cold as ice, be-
speaking evil and treachery. As we study his face the
following SUBTITLES APPEAR:
Abd Sa'ud Jaffa, once the most
notorious and feared terrorist in
the world, now a desperate, hunted
man, his sanctuaries nearly
exhausted, betrayed by even his own
people.
(CONTINUED)
2.
15 CONTINUED: 15
Beside him is his chief of staff, ALI NAGI HASSAN, early
30s, a complex, highly-intelligent man, responsible for
Jaffa's security and middle man to outside organizations.
A man of considerable power but exercised only on behalf
and at the behest of Jaffa -- an man who never dictates
policy, only carrying it out. At the moment, he is
extremely anxious at this careless exposure of a man
carrying death warrants even from his own people. Ali
glances at his watch.
ALI HASSAN
(subtitles)
Jaffa, we must go. We have stayed
too long. There are many on this
island who would betray you.
Jaffa turns, holding up his hand in a gesture of
restraint. He focuses on his beautiful daughter below,
radiant in this moment. He motions to her, indicating an
adjoining courtyard below. She excuses herself from the
party, Jaffa turning to descend a staircase. Ali is
upset by this recklessness but dogged in his determina-
tion to maintain security. He turns to one of the
guards.
ALI HASSAN
(subtitles)
Check the street, then bring up
the cars.
16 EXT. COURTYARD - DAY 16
Elegant, a stone fountain as the centerpiece. Jaffa ex-
tends his hands to his daughter who complies, obediently,
she too in awe of this powerful, dangerous man, a man she
has rarely seen. Jaffa embraces her and then presses
something into her hand, a small gilded box. He speaks
softly to her.
Suddenly Ali is there. He nods differentially to the
daughter and then whispers anxiously to Jaffa.
ALI HASSAN
(subtitles)
The plane cannot wait any longer.
We must go, please.
Jaffa bids a final farewell to his daughter and then
turns, nodding quickly to Ali.
JAFFA
(subtitles)
We go.
(CONTINUED)
3.
16 CONTINUED: 16
He replaces his glasses and ascends the stairs, Ali
quickly following, signalling to one of the guards at the
top of the stairs. Ali keys a tiny hand radio.
ALI HASSAN
(subtitles)
Go.
16A INT. HOTEL - HALLWAY OF UPPER FLOOR - LATE AFTERNOON 16A
Jaffa, Ali and a bodyguard enter. Emerging from a room
are three men, one of whom is dressed identically to
Jaffa, his body type and face, very similar to Jaffa.
The double makes momentary eye contact with Jaffa and
Ali. Jaffa nods his approval. The man puts on dark
glasses and the decoy team heads rapidly down the hall.
16B INT. NICOSIA HOTEL - LOBBY - LATE AFTERNOON 16B
The decoy team descends the stairs, moving through the
lobby, few of the patrons or employees paying attention
to their presence.
16C EXT. NICOSIA HOTEL - LATE AFTERNOON 16C
Small but elegant. The decoy team leaves the hotel,
entering a waiting Mercedes sedan. The car pulls
smoothly away from the curb.
16D INT. MERCEDES SEDAN - LATE AFTERNOON 16D
One of the bodyguards looks out the rear window, the
hotel receding in the b.g. He keys his hand radio.
BODYGUARD
(subtitles)
We're clear.
16E INT. HALLWAY - UPPER FLOOR - LATE AFTERNOON 16E
Ali lowers his RADIO, nodding to Jaffa who quickly
removes his necktie and replaces his business suit coat
with a sports jacket, a man always in hiding.
ALI
(subtitles)
I must phone the airfield. I will
be in the other car. Go with God.
Jaffa briefly touches Ali on the shoulder, a quick nod
from Ali and Jaffa leaves, escorted by three bodyguards.
4.
17 EXT. NICOSIA HOTEL - LATE AFTERNOON 17
Now parked in the curved driveway is a Fiat sedan, a
driver behind the wheel.
Another car is parked in front of the Fiat, its driver
unloading baggage for an Orthodox Greek priest who stands
waiting on the sidewalk, eyes half-closed, feeling the
heat of the sun on his upturned face.
From the hotel lobby, two of Jaffa's guards emerge, one
standing lookout, the other walking quickly to the Fiat.
Looking cautiously about he leans into the driver, giving
instructions. The driver starts the car but before he
can back up, a taxi whips in behind, trapping it between
the two cars.
Three men, obviously drunk, stumble from the cab and
head for the lobby, arm-in-arm, talking loudly in German.
The terrorist beside the Fiat moves towards the cab,
shouting at the driver to back up. The taxi driver
emerges, shouting back at the terrorist. They meet at
the rear of the car, arguing. Suddenly the taxi driver
reaches to his back, whipping free a silenced .22 Beretta
automatic. In a flash, the gun is under the chin of the
bodyguard, a soft THUMP as the GUN is FIRED.
The driver lays the dead bodyguard in the street, swing-
ing out and around the car, leveling, FIRING TWICE, the
driver in the Fiat slumping down in the seat.
At the same moment, the three drunken men reach the lobby
doors, one of them pulling a silenced pistol, pressing it
into the lookout's stomach, FIRING. As he sits the dead
man into the base of a potted tree, the other two push
through the doors.
18 INT. LOBBY - DAY 18
As Jaffa and the remaining guard descend the stairs, a
BUSINESSMAN, seated at a couch folds a paper and picking
up a briefcase, follows in behind them.
The two boisterous drunks spill through the doors but as
they approach Jaffa and his bodyguard, pull their pistols
as the Businessman moves in from behind, shoving a pistol
into the bodyguard's back, a quick spin, another soft
THUMP and the bodyguard drops to the floor.
As the stunned patrons and employees look on, Jaffa is
moved quickly toward the doors, the Businessman speaking
into a lapel mike on his suit.
AGENT (BUSINESSMAN)
(in English)
We have number one. Move.
(CONTINUED)
5.
18 CONTINUED: 18
The three men push Jaffa out the door and down the
stairs.
19 EXT. HOTEL - DAY 19
A late-model MERCEDES SQUEALS INTO VIEW, the back door
flying open as more agents leap out. Jaffa is shoved
into the back seat.
Just then, Jaffa's backup car pulls around the corner and
into the driveway. The three terrorists inside realize
what is happening, the doors fling open, their weapons
drawn.
At this moment, the Greek priest, who has been backing
away in mock horror at the kidnapping, clears a MACH TEN
MACHINE GUN from his robes, his driver pulling a similar
weapon from the trunk. The two OPEN FIRE, the terrorists
in the backup car disappearing in a hail of EXPLODING
GLASS and ruptured metal. The priest and driver jump
into their car, pulling out.
As the MERCEDES PEELS OUT behind the priest's car, the
businessman leaps into the taxi, hiking out the window
and over the roof, FIRING several rounds into the tires
and radiator of the Fiat with a SILENCED PISTOL. A second
later, one of the priest's suitcases on the sidewalk
EXPLODES, a dense cloud of C.S. gas enveloping the area,
providing cover.
20 INT. HOTEL - UPPER BALCONY - DAY 20
Ali Hassan, hearing the faint but distinctive SILENCED
SHOTS, rushes from the room, a machine pistol in his
hand. Seeing the abduction below he leaps from the
balcony onto the roof, running across the tiles towards
the street.
He sights in on the Businessman, hiked out over the cab,
but stops short, seeing the silhouette of Jaffa, framed
in the back seat, too dangerous a shot for a machine gun.
Unwilling to risk hitting him, Ali throws out his arms,
screaming a cry of defiance and revenge, his eyes wild
with anger and hatred.
As the car whips its way through the narrow streets, we
hear the following VOICE OVER as we view the series of
news reports of terrorist activities including the bomb-
ing of a disco; aircraft wreckage; bombing of a military
hospital, etc:
(CONTINUED)
6.
20 CONTINUED: 20
BBC REPORTER (V.O.)
(filtered)
... In a bizarre development, the
terrorist Abd Sa'ud Jaffa was
abducted in Nicosia, Cyprus late
yesterday afternoon by a group of
unidentified mercenaries. Jaffa
was apparently delivered by his
abductors to the commander of an
American warship, at sea in the
Mediterranean.
20A EXT. MILITARY BASE - BBC REPORTER 20A
standing outside a chain link fence, a military base in
the b.g.
BBC REPORTER
Jaffa was then flown here, to
Lakenheath Air Force Base, 75
miles northeast of London,
arriving only moments ago.
20B TELEPHOTO LIVE VIDEO 20B
of Jaffa being taken from a helicopter and placed inside
a waiting van.
BBC REPORTER (V.O.)
Both the U.S. and U.K. have
claimed no involvement in the
abduction, the mercenaries
apparently motivated by a reward
of two million pounds offered for
information leading to Jaffa's
arrest.
20C EXT. MILITARY BASE - REPORTER 20C
BBC REPORTER
Cyprus, claiming a violation of
its territorial sovereignty, has
lodged an emergency protest with
the U.N. Security Council, halting
the extradition. Until this
complicated issue is resolved, Abd
Sa'ud Jaffa, apparently will
remain in U.S. custody at
Lakenheath...
END TITLE SEQUENCE and...
LONG DISSOLVE INTO:
7.
21 EXT. AIRPORT RUNWAY - DAY 21
A shimmering collage of heat-waves and OUT-OF-FOCUS
images.
SUBTITLES: ATHENS, GREECE -- 1 MONTH LATER.
Appearing mid-point in this silent, shimmering field,
a black dot slowly expands into an amorphous sphere, two
unattached, horizontal bands appearing on either side,
growing towards the center. Suspended in mid-air,
slowly drifting forward, the gigantic object resolves,
revealing a Boeing 747, the monarch of the air, descend-
ing directly towards us.
As if defying gravity, the mammoth airship seems sus-
pended as it settles towards the earth. The runway ap-
pears, the 747 FILLING the SCREEN as it passes silently
overhead... shattering the silence as three-quarters of
a million pounds of modern-age miracle return to earth:
an ear-splitting SCREAM and erupting smoke as tires
smash into the tarmac, followed by the THUDDING GROAN
of the suspension as it absorbs the awesome weight of
the plane. The 230 feet of hurtling mass ROARS down the
tarmac towards the terminal buildings in the b.g.
22 INT. PASSENGER TERMINAL - DAY 22
Where a variety of international travelers pass through
the security and X-ray control area, several traveling in
groups, their tour leaders dealing with last minute
problems and questions.
Among the passengers is a man, late 40s, European,
carrying a small, laptop computer which is being checked
by X-ray and a bomb analyzer, a device searching for the
scent of plastic explosives. Collecting his computer
from the inspection, he lights up a cigarette, looking
nervously about him as he does.
Behind him, a dark-complected MAN, late 20s, handsome,
Mediterranean, dressed in sporty, but expensive outdoor
clothing, is insisting that his two heavily-ladened
camera bags be hand inspected by the agent.
23 INT. BAGGAGE SORTING AREA - DAY 23
As baggage from the terminal is carried along conveyor
belts and loaded into aluminum baggage containers,
security men and dogs move against the flow, the dogs
eagerly sniffing for the tell-tale scent of drugs or
explosives.
8.
24 INT. 747 CARGO COMPARTMENT - DAY 24
The food carts are rolled down floor tracks and into the
two lower galleys where the meals will be prepared. As
panels are lowered, isolating the galley from the rest
of the hold, the baggage containers are rolled and locked
into place.
25 EXT. 747 LOADING AREA - DAY 25
The massive fuel lines, pumping thousands of pounds of
kerosene into the airframe are pulled aside as mechanics
perform last minute checks on tires, landing gear and
engines, using ladders and lifts to gain access to the
belly and wings, ten feet above the ground.
26 INT. FIRST CLASS CABIN AREA - DAY 26
Where twelve flight attendants are being briefed by the
CHIEF STEW reading to them from a computer manifest.
Among the attendants is FRAN, 32. Aside from being physi-
cally striking, she possesses an easy, relaxed manner and
confident bearing.
CHIEF STEW
Our Captain today is Brad Stewart,
based in New York. We've got a full
load, 406 passengers. Also a
Federal air marshal, in 13-B and
he's carrying. Otherwise you know
your assignments so let's get ready
for pre-check.
The attendants move to their stations to prepare for the
long flight. GO WITH Fran and another attendant, JUDY,
28, black. By their smiles and animated conversation, we
understand they are close friends.
In a moment, the first of the 406 passengers begin filing
on board, looking for their seats, stowing their luggage,
assisted by the attendants.
The PHOTOJOURNALIST is having some difficulty placing
his two camera bags into the overhead. Fran appears.
FRAN
Sir, I can check those for you.
He turns, somewhat startled and then smiles. He is a
very handsome, exotic-looking man and the effect on Fran
is not unnoticed.
(CONTINUED)
9.
26 CONTINUED: 26
PHOTOJOURNALIST (MAN)
No, I'd feel more comfortable with
them here. They're quite valuable,
you see...
Fran smiles, moving to help place them in the overhead.
FRAN
Let me see what I can do.
With a little expert arranging, she slides the bags into
the compartment.
PHOTOJOURNALIST
Thank you...
FRAN
(smiling)
Fran. Have a nice flight.
She walks away towards the forward compartment.
An American family, husband and wife and two children,
boy and girl, take their seats. The children are seated
separately at window seats, tended to by their mother,
storing toys into the upper compartment, the kids, DAVID
and KAREN, playing with their latest Nintendo game.
A priest and two Greek orphans, boys, seven and eight,
take their seats in the center section, directly across
from the two American children. The children study each
other closely, the orphans dressed in shorts and knee
socks, the Americans in Reeboks, baggy pants and
T-shirts. The little girl seems totally mesmerized by
the two. She smiles warmly at them.
27 INT. MID-SECTION GALLEY AREA - DAY 27
Judy is putting on an apron. Fran appears, continuing
her conversation as she checks the area for supplies.
Fran nudges her playfully.
FRAN
So, how does it feel, now that
it's really happening?
JUDY
Can't get out of it now. He's
already paid for the hotel, the
church, and...
(MORE)
(CONTINUED)
10.
27 CONTINUED: 27
JUDY (CONT'D)
(holds up diamond
ring)
... the ring. But the big question
is, have you filed for that leave
of absence?
FRAN
Not yet. Still got the car to pay
off, helping my brother out, the
usual... I'll get around to it.
JUDY
Fran, you take care of everybody,
except yourself. When we get to
New York, you and me are havin' a
girl to girl. You've helped me
out of more shit than I can name.
Now it's pay back.
FRAN
(laughing)
Okay, we'll talk.
JUDY
You bet your sweet ass we will.
(opens elevator)
Meanwhile, back to the 'pit.'
Judy laughs, enters the elevator and descends from sight.
28 INT. MID-SECTION CABIN AREA - DAY 28
The man seen earlier with the computer, boards and takes
his seat. Moments later, a heavy-set WOMAN finds her
seat alongside him.
As she attempts to stow some of her luggage in the over-
head, several souvenirs slide from a bag, hitting the
small computer, resting on the man's lap. Startled, he
grabs the computer, looking up angrily at the Woman. He
then stows the machine beneath his seat.
WOMAN
(defensive)
Well I'm sorry. I didn't do it on
purpose.
The man ignores her, the woman, still mumbling, settles
uncomfortably into her seat, making sure to avoid any
further contact with him.
11.
29 EXT. 747 TAXI AND TAKE-OFF SEQUENCE - DAY 29
The massive aircraft taxis into position and holds. We
hear the RADIO CHATTER between the cockpit and the con-
trol tower as final run-up tests are performed.
When the final clearance has been given, the ENGINES are
pushed to near red-line, the exhaust obscuring the run-
way in a shimmering wall of heat. Within two miles, the
plane is nearing 150 mph and beginning to lift as
millions of pounds of air are sucked into the SCREAMING
ENGINES. A moment later the plane clears the runway,
pulling magnificently into the sky.
30 INT. 747 COCKPIT - DAY 30
As the plane banks, turning into its outward course, we
hear the final course assignments and weather conditions
from the TOWER. A sense of calm settles over the cockpit,
the crew adjusting for the long flight.
31 INT. 747 FORWARD CABIN AREA - DAY 31
The "fasten seatbelt" sign winks off, the attendants and
passengers settling into their in-flight routines. Mo-
ments later a man leaves his seat and we follow his legs
as he walks down the aisle, stopping at a seat, the
Photojournalist casually looking up before returning to
his magazine. The man, wearing horn-rimmed glasses, hair
and mustache salt and pepper gray, skin slightly clay-
like, looks like a conservative businessman or professor.
He opens the overhead, removing one of the camera bags.
The man moves on, towards the mid-cabin bathrooms.
32 INT. BATHROOM - DAY 32
The grey-haired man stares into the mirror before remov-
ing his glasses, pulling free his wig, revealing black,
slicked-back hair. Using a towel he wipes the makeup
from his face, looking back at himself in the mirror:
Ali Hassan.
He removes from the camera bag two 6x7 reflex cameras.
Turning them over, he tears away the bases, an expertly
molded and painted section of plaster, revealing the
slides of two automatic pistols. He then removes two
camera pistol grips, pulling each away from its unit,
exposing firing pin and hammer mechanisms. He unscrews a
500mm mirror lens. Behind a dummy photo of the iris, are
secreted bullets in a long roll of lead foil. He contin-
ues to assemble the weapons...
12.
33 INT. FORWARD CABIN AREA - DAY 33
Ali leaves the bathroom. He passes another Arab in the
aisle, handing him one of the weapons, secreted in a
magazine. This man walks to the front of the plane and
ascends the staircase.
At the same time, a third Arab leaves his seat, walking
to the forward galley area. He waits until the atten-
dant leaves her station and then slips into the elevator.
34 INT. LOWER FORWARD GALLEY AREA - DAY 34
The door to the elevator bursts open as the third terror-
ist storms into the galley, slamming Judy across the
chest, knocking her unconscious against the bulkhead,
her head striking the counter with a sickening THUD as
she falls.
The terrorist begins tearing into the food carts scat-
tering several of the trays to the floor. A moment later
he finds what he is looking for, several automatic
weapons and two grenades, hidden among the rows of food
trays.
35 INT. UPPER DECK - BUSINESS CLASS - COCKPIT AREA - DAY 35
The Terrorist approaches the cockpit door, an ATTENDANT,
working in business class seeing him.
ATTENDANT
Sir, the bathroom is to the right.
He nods. As she turns back to her work, the Terrorist
pulls from his pocket a small wedge of plastic explo-
sive with a fuse attached. Pressing the plastic into
the seam by the door latch and pulling the igniter, he
calmly steps back, revealing his handgun.
A sharp EXPLOSION blasts the door free from the lock.
As the startled passengers watch in shock, the Terrorist
rushes inside, brutally pistol-whipping the flight
engineer as he stands, then pressing the muzzle into
the pilot's neck.
Expertly the Terrorist reaches up, turning off several
overhead switches, and then turns to the navigator's
station, shutting down the radio and radar. He hands
the captain a sheet of paper.
TERRORIST
Your new course, Captain. Careful,
I am a pilot. No tricks.
13.
36 INT. LOWER PASSENGER LEVEL - DAY 36
The passengers reacting in confusion to the sound of the
explosion. Ali walks past a U.S. Navy serviceman, now
starting to rise to his feet. Ali turns, FIRING TWICE,
point-blank into the man's chest, the high-caliber bul-
lets ripping through the seat, also killing a woman sit-
ting behind the sailor.
Behind him there is a CRASH. Ali spins, raising his
weapon, stopping as he sees an attendant, NANCY, backing
into the partition, holding her hands over her face, her
eyes wide with fear and horror. Ali studies her, calmly,
appraisinlgy and then dismissing her, hands the weapon to
Kahlil, the photojournalist. As if his point has been
made, Ali walks swiftly down the aisle, not bothering to
look at another passenger.
Somewhere in the main cabin, a hand gripping a .357
Magnum, partially removed from a belt holster, hesitates
before returning the revolver. Carefully, the man's
hand unsnaps the holster, sliding it and the gun down
to his feet where it is secreted in a dress boot, pants
leg covering it. Next his Federal I.D. wallet is slipped
between the seats.
A wave of fear rolls through the passengers as they con-
front the horrible reality -- hijacked. In a SERIES OF
SHOTS, we see passengers quickly hiding jewelry, watches,
Star of David medallions, passports, diamond rings.
37 INT. MID-SECTION WORK STATION - DAY 37
As a terrorist, shouting in Arabic, pushes Fran and
Nancy into the station, shoving them roughly into their
jump seats. As Fran sits, she looks up, seeing the
passenger manifest, hanging from the wall. Her eyes go
to a name: Edward Strickler, 13-B, United States Fed-
eral Air Marshal.
As the terrorist turns his back, she pulls the manifest
from the clipboard, slipping it into a trash receptacle.
She looks up, just as Ali steps into the space. He
removes his suit coat, hanging it over some work aprons
on the bulkhead. Lifting the intercom handset from the
wall, he speaks calmly, in perfect English.
ALI HASSAN
My name is 'Al Iqab.' In a few
hours we will return to London,
refuel and then travel to the
Middle East. You are to remain in
your seats and do as you are told.
Anyone disobeying my orders will
be shot.
(CONTINUED)
14.
37 CONTINUED: 37
He hangs up as Kahlil appears.
KAHLIL
I will start separating the men
and collect the passports.
Ali considers this a moment and then answers in English,
catching Fran's stare, looking into his cold, calculating
eyes as he does.
ALI
There is no need for that. Keep
them seated and maintain security.
I'm going to the cockpit.
He stares at Fran a moment and then turns away from
Kahlil, leaving the area, Fran seeing an expression of
confusion on Kahlil's face.
38 EXT. AMERICAN EMBASSY (LONDON) - MORNING 38
ESTABLISHING SHOT of the embassy, Grosvenor Square.
39 INT. AMERICAN EMBASSY - MAIN RECEPTION DESK - MORNING 39
Where a young ASSISTANT answers a RINGING TELEPHONE.
ASSISTANT
Good morning, American Embassy.
40 INT. PHONE BOOTH - DAY 40
Piccadilly Square visible in the b.g. A gloved hand
places a mini tape recorder next to the handset, a finger
pressing the play button.
ALI HASSAN (V.O.)
(filtered)
This is Al Iqab. In fifteen
minutes a clear message of my
convictions will be delivered to
the satanic American president.
41 EXT. FINANCIAL DISTRICT (LONDON) - DAY 41
Alive with mid-morning activity. We FOCUS ON a posh,
glass walled restaurant.
15.
42 INT. LONDON RESTAURANT - DAY 42
Businessmen and ladies tailored in Saville Row fashions
wait patiently to be seated. A dark-complected man,
early 20s, wearing a shabby overcoat, pushes through the
patrons, past the MAITRE D' and into the main dining area,
oblivious to the indignant stares and murmured comments.
The Maitre d', offended at this incursion follows after
him.
MAITRE D'
(indignant)
Excuse me, sir, but may I help you?
The man reaches the center of the restaurant.
MAITRE D'
Do you have a reservation...
The man turns, the Maitre d' staring into the glazed eyes
of death. In that frozen moment, the Maitre d' notices
the man is sweating heavily, his breathing shallow.
The man slowly opens his coat, revealing a canvas vest to
which are taped a dozen blocks of plastic explosive,
fused and wired together in series. He holds out his
arm, revealing a detonator switch, crudely taped to his
palm, two wires running up his sleeve.
A frozen moment of hesitation and then the man, lifting
his face, eyes rolling upward, screams something in
Arabic and presses the detonator...
43 EXT. RESTAURANT - AERIAL VIEW - DAY 43
A fireball flashes through the atrium, a tidal wave of
flame and GLASS erupting into the street, followed by
the deafening THUNDERCLAP of the EXPLOSION.
43A INT. BEDROOM - NIGHT 43A
The silence shattered by the RINGING of a TELEPHONE. A
bedlamp is switched on, a hand groping for the phone.
A bedside clock indicates 3:30 A.M.
SUBTITLES: GEORGETOWN, WASHINGTON, D.C. 3:30 AM
Answering is DAVID GRANT, 32, intelligent, introspective,
and by the way he forces his mind into activity, not
unaccustomed to awakenings in the dead of night.
(CONTINUED)
16.
43A CONTINUED: 43A
GRANT
Hello... Yes?
(listens)
When? Just a second...
(begins to jot down
items on a pad)
I'm on my way.
He hangs up, shaking the sleep from his brain. He thinks
a moment and then picks up the phone, punching in a
number.
44 OMITTED 44
& &
45 45
45A EXT. VIRGINIA BEACH - NIGHT (FIRST LIGHT) 45A
A man dressed in gray sweats is running hard, pushing
himself down the hardpacked sand, sprinting the last
quarter mile.
SUBTITLES: VIRGINIA BEACH, VIRGINIA 5:30 AM
IN CLOSE we meet COLONEL AUSTIN TRAVIS, leader of an
elite special forces commando team, early 50s, graying
hair, still hard and lean, a man of incredible drive
and endurance.
Reaching a set of stairs he stops, checking his watch.
Satisfied he heads up the stairs ascending a grassy
bluff, taking the steps three at a time.
46 OMITTED 46
& &
47 47
47A INT. TRAVIS' BEDROOM - NIGHT (FIRST LIGHT) 47A
Tastefully furnished, French windows opening onto a deck
overlooking the beach and the sweeping hillside below.
Travis enters and sits down on a multi-station fitness
machine, grasping an overhead bar and beginning a series
of gut crunches coupled with pull-ups.
From the bathroom a woman's voice calls out, cheerful,
playfully.
(CONTINUED)
17.
47A CONTINUED: 47A
VOICE (O.S.)
(mock-scolding)
Uh, uh, Colonel. You don't have
time for that. Shower's free,
hurry up.
TRAVIS
(grunting)
For what?
From the door LYNN TRAVIS, late 40's, athletic, short
bobbed hair, in tennis togs, appears.
LYNN TRAVIS
We've got doubles with Tom and
Karen at seven. Breakfast at the
club and then the house in Little
Creek, which you've been putting
off seeing for a week. Now get
in here.
She throws a towel at him. Overhead we hear the faint
THUMPING sound of a HELICOPTER passing by. Travis
listens, judging the distance and type of aircraft by
habit. He returns to Lynn, smiling.
TRAVIS
(teasing)
Hell, I thought that was tomorrow.
I already made plans to run into
D.C., drop by the Pent...
LYNN TRAVIS
Oh, no. As of 0:600 this morning,
you are on leave, mister, thirty
days, in preparation for
reassignment to staff headquarters.
(beat)
Just where I want you, a nine to
fiver, like it or not. And the
next thirty days are going to be
devoted exclusively to me...
The sound of the HELICOPTER has increased. Through the
curtains Travis sees a blurred movement over the beach,
an army 500C helicopter feathering out, settling
to earth.
Lynn stares at the helicopter, face stricken, hands moving
defensively to her breast. An officer in camouflage
fatigues runs towards the house, a briefcase under his
arm. Travis turns, looking at Lynn, seeing once again the
look of betrayal, resignation, he has seen from her so
many times before. Unable to speak she breaks away,
entering the bathroom.
18.
48 INT. PENTAGON - HALLWAY - NIGHT 48
Travis and his Staff Officer hurrying down the hallway,
Travis reading from a top secret briefing.
TRAVIS
Has Delta been alerted?
STAFF OFFICER
Yes, sir. Warning order in force,
they should be on the tarmac at
Fort Bragg by 0:800.
TRAVIS
Then let's go see what the hell
this is all about.
49 INT. ANTEROOM - NIGHT 49
Outside the Joint Chiefs Operations Center, where PETER
CAHILL, early forties, intellectual, slightly hyper, wear-
ing a crumpled corduroy suit and yesterday's shirt, is
gulping coffee from a large paper cup. He looks as if
roused from sleep, only minutes ago. A portable computer
rests at his feet.
Travis and his Staff Officer appear, Cahill looking up.
The two men stare at each other and then Cahill rises.
CAHILL
Colonel Travis?
Travis studies him, remembering. He nods.
TRAVIS
Cahill. The Jules Verne kid from
Advanced Projects Research. Two
years ago, right? That screwball
experimental airplane you were
trying to justify to the
Appropriations Committee. What
the hell was it called, 'Ramona?'
CAHILL
(quietly)
Ramora.
TRAVIS
Ramora. Right.
(looks at him hard;
puzzled)
What the hell are you doing
here?
19.
49A INT. PENTAGON - WAITING ROOM - NIGHT 49A
Spartan but tastefully furnished. In the center of the
room three men are conversing in hushed tones.
GENERAL MIKE SARLOW, head of ISA, the army's CIA, is
speaking while CAPTAIN DAVID GRANT, now dressed in an
army uniform, studies carefully the reactions of an
ARAB DIPLOMAT, late 50's, compassionate but penetrating
eyes, wearing an expensively tailored English suit.
SARLOW
There must be some way to contact
them. Someone he will listen to.
ARAB DIPLOMAT
(cautious)
Jaffa is a pariah to the Arab
community, a total threat to any
hope we have of peace in the
Middle East. No one will have
anything to do with him publicly.
SARLOW
I realize that, but we must try.
ARAB DIPLOMAT
I will do everything possible.
But there is no one politically
to deal with except Ali Hassan.
And he is a true believer. He
will be difficult to deal with.
A very dangerous man.
Sarlow looks at Grant for his assessment, receiving a
solemn nod of agreement.
49B INT. PENTAGON - ANTEROOM - NIGHT 49B
Some distance down the hallway, a door opens and Sarlow,
Grant and the Arab Diplomat emerge. Travis watches as
they briefly shake hands, the diplomat leaving, escorted
by a waiting Pentagon official. Sarlow and Grant turn
and walk towards the anteroom. As they approach, Travis
appraises them carefully just as the door to the
operations center swings open, a CIA OFFICER appearing.
CIA OFFICER
Gentlemen.
50 INT. OPERATIONS CENTER - NIGHT 50
The emergency operations center of the Joint Chiefs,
five stories underground, a huge oval-shaped room on
two levels.
(CONTINUED)
20.
50 CONTINUED: 50
The lower level is devoted to a massive communications
center, an intricate collection of telephones, computers,
and printers manned by military operators. On the walls
are a bank of television sets, flanked by huge screens
onto which maps, computer data and video images may be
projected.
The President's crisis-management team stands before one
of the overhead screens on which we see a map of Europe,
indicating the location of the 747, enroute to London.
Leading the team is GEORGE KAPLAN, the President's
National Security Advisor. With him is DIRECTOR NELSON,
head of the CIA (DCI); MAJOR ERWIN PRICE, and ADMIRAL
CHESTER LEWIS of the Joint Chiefs of Staff. Along with
Sarlow, Travis and Grant, they listen to another tape
recording by Ali Hassan.
ALI HASSAN (V.O.)
(hard; clipped)
You have witnessed the conviction
of Al Iqab. My instructions will
be given once; no theater, no
negotiation. Jaffa will be taken
to Gatwick Airport, a long-range
private jet provided. With Jaffa's
release, Flight 343 will divert to
Washington, D.C. where half the
prisoners will be exchanged for
fuel and fifteen million in gold
bullion.
(beat)
Jaffa must be airborne by three
P.M., G.M.T., or a second, more
convincing message will be
delivered. All communication
will cease after this message.
Kaplan turns to Travis, studying him, carefully choosing
his words before he speaks.
KAPLAN
Colonel Travis, as you know, the
President is out of the country,
scheduled to meet with the Soviet
Premiere tomorrow. We're in
constant communication with him.
He's been apprised of everything
I am about to tell you.
Kaplan glances at Sarlow and Grant.
(CONTINUED)
21.
50 CONTINUED: (2) 50
KAPLAN
In the past hour, some new, rather
disturbing elements have surfaced,
possibly calling for some
extraordinary measures. That's
why you're here.
Travis looks around at the sober faces staring at him.
He seems to be the center of attention -- as if he's
the last to be brought in on something. He turns
back to Kaplan.
KAPLAN
The immediate situation is this.
The Prime Minister is demanding
Jaffa's release or he'll take
action on his own. We're going
to comply, to gain some time, at
least.
(to Sarlow)
General Sarlow?
GENERAL SARLOW
A number of Arab factions are
willing to attempt negotiations
with Jaffa's group, but unless
the highjackers elect to make
contact, our options are
severely limited.
(looks at Grant)
I'm going to ask Captain Grant to
continue. He's the best expert
we have on Arab terrorists, and
he's been on the highjacking since
we first learned of it.
Grant addresses the group but focuses on Travis, again
as if this is for his benefit. Grant refers to a
series of documents taken from his briefcase.
GRANT
Based upon a voice print, I'm
certain 'Al Iqab' is Ali Hassan,
Jaffa's second in command. For
such a high-ranking member to
actually be in charge is highly
unusual.
He pauses, Travis cautiously acknowledging.
TRAVIS
Yes, highly unusual.
(CONTINUED)
22.
50 CONTINUED: (3) 50
GRANT
Then I'm sure you would also agree,
Colonel, that taking hostages to
spring Jaffa makes sense, but not
coming here. They can secure his
release and never leave Europe.
Again, Travis stares coolly at Grant.
TRAVIS
Obviously Hassan is up to something.
GRANT
Jaffa knew his effectiveness as a
terrorist was over and was in the
process of portraying himself a
moderate, another Arafat. But Ali
has always represented the hard
line, fundamental position.
(beat)
Rather then take a Mossad bullet in
the head he would rather go out
striking a blow at the Great Satan.
The Sword of God's Will.
(beat)
His nom de guerre, 'Al Iqab,' is
deeply rooted in Arabic culture,
associated with suicidal vengeance.
It means: "The Punishment.'
TRAVIS
So, what's the punch line?
Grant refers to an open folder before him.
GRANT
Less than a week ago, a small
Russian army convoy was ambushed
outside of Ashkhabad, near the
Iranian border. Ten men were
killed, a truck hijacked.
He places several satellite photographs on the table,
showing the burned wreckage of several Jeeps and soldiers
lying on the road.
GRANT
Recent intelligence gives us strong
reason to believe Jaffa's group
was responsible.
(beat)
The cargo of that truck consisted
of 42 canisters of DZ-5, being
relocated to a secret storage
facility.
(CONTINUED)
23.
50 CONTINUED: (4) 50
Travis stiffens slightly at the mention of the word.
GRANT
DZ-5 is the latest generation of a
biogenic nerve toxin, far more
lethal than any chemical weapon
we've ever seen...
He places several photographs on the table showing Middle
Eastern tribesmen and soldiers, lying in contorted and
misshapen heaps; one photograph showing a Kurdish tribes-
woman clutching a baby, their faces frozen masks of
agony, gasping for their last breath of life.
TRAVIS
(sober)
I'm aware of its capabilities,
Captain.
Grant stops, his briefing finished for the moment.
He looks to Director Nelson, the DCI, who picks up
a computer printout.
DCI
A cross-check of the passenger
and cargo manifests, Colonel,
indicates a shipment of 'art
objects,' leaded pottery, 250
kilos in weight, on board
Flight 343...
(beat)
The point of origin, final
destination and the person assigned
to that shipment are all non-
existent.
Kaplan now resumes, but Travis clearly understands
the situation, Grant carefully studying his reaction.
KAPLAN
We have to consider, Colonel
Travis, the strong possibility that
gaining the release of Jaffa is
only the first phase of a larger
plan...
TRAVIS
(grave)
A major strike against the U.S.
Again Grant speaks up, referring to his notes. He is
obviously well prepared for this briefing.
(CONTINUED)
24.
50 CONTINUED: (5) 50
GRANT
Assuming only 10 canisters,
airburst over Washington... we
could expect between 50,000 to
100,000 deaths. Anything inside
a hundred miles of the coastline
would be disastrous.
A frozen moment and then Kaplan looks directly at
Travis.
KAPLAN
(gravely)
Meaning, Colonel Travis, if this
scenario is true, the President
would have no other choice but to
order the plane destroyed.
TRAVIS
(confused)
Yes, sir, no other choice. But I'm
at a loss, Mr. Kaplan. If this
is all true, where does my team fit
in?
Kaplan glances at Grant, then to the DCI.
KAPLAN
Because, we've been told we may
have another option, Colonel.
Which does concern you.
(to Nelson)
Let's get on with it, gentlemen.
Nelson nods to one of his aides who leaves the room.
DCI
It's a wild card, Colonel, but
under the circumstances, it's all
we've got. You've already met, I
think, Peter Cahill, an
aeronautical engineer at DARPA, a
pioneer in stealth technology...
51 OMITTED 51
thru thru
53 53
25.
54 INT. OPERATIONS CENTER - DAY 54
CLOSE ON a video screen where a computerized blueprint is
displayed, a drawing of a double-walled, ovoid cylinder,
at the top of which is an inner and outer o-ring device:
a series of circular, sucker-like cups, attached to a
collection of pneumatic pumps.
The image changes, an engineer's drawing, showing the
cylinder, similar to a submarine's conning tower,
attached to the top of a radically designed executive-
style jet with stealth characteristics, featuring
swept-back wings and a horizontal, rather than vertical,
tail.
Another drawing shows the cylinder telescoped upward,
several times its original size, the delivery plane now
positioned beneath and mated with an aircraft many times
its size, a giant XB-70 bomber.
Suddenly Travis gets the picture, understanding where he
fits into the loop.
TRAVIS
Jesus H. Christ...
All eyes are on Travis.
TRAVIS
Excuse me, Mr. Kaplan, but I see
where you're going with this. My
team is thoroughly versed in
carrying out assaults on hijacked
aircraft. But on the ground, not
five miles above the earth.
(beat)
I informed Mr. Cahill two years
ago that we had little use for
this 'aircraft' in Special Ops.
This thing was designed to
transfer flight crews to and from
strategic bombers, requiring
special adaptation to the aircraft.
(looks at Cahill)
Its application with a civilian
aircraft was dismissed as posing
too great a risk to the
passengers. A hijacked aircraft
eventually has to land somehwere
where we can deal with it...
Travis realizes the irony of his last statement, even
before Kaplan speaks up.
(CONTINUED)
26.
54 CONTINUED: 54
KAPLAN
This does appear to be the
exception to the rule.
(beat)
We said this was a wild card,
Colonel. But if your team can
board that airplane, determine if
there is a bomb and take control
of the situation, we at least have
a fighting chance. Otherwise,
four hundred and six passengers
will have to be sacrificed.
(sober; intense)
The President does not want to
shoot down that plane, Colonel...
but he will. He cannot risk
50,000 American lives.
(beat)
In his words this is a Hail Mary
pass. He has no other options.
Kaplan continues to look at Travis.
TRAVIS
How much time?
Grant speaks up.
GRANT
You have to be airborne within the
hour.
Travis thinks a moment and then nods, the soldier's
acceptance of duty. He looks at Cahill.
TRAVIS
One question. You have enough
confidence in this gadget to stake
your life on it, under these
circumstances?
CAHILL
It's been modified... the pump's
much stronger... Even without the
mating collar there is an
appropriate hatch on the 747 and
the wide surface area of the
aircraft should be sufficient for
a link-up...
(beat)
I'd have to say I have extreme
confidence in its application,
even under the less than optimum
circumstances.
(CONTINUED)
27.
54 CONTINUED: (2) 54
TRAVIS
Well, good. Because I want you to
go along. I don't want anything
left to chance.
Cahill is stunned. He starts to speak but a withering
look from the DCI shuts him up. Cahill looks sick.
Kaplan speaks up, dealing his last card.
KAPLAN
I think one addition to the team
is called for, Colonel. An expert
in Arabic dialects, someone who
has made a careful study of Ali's
life, who knows how he thinks, how
he operates...
Travis turns and looks at Grant, their eyes locking.
This was unanticipated by Grant and his face shows it.
The Major-General, Travis's boss speaks up.
MAJOR-GENERAL
I see absolutely no need for
Captain Grant's involvement in the
actual operation. He can
accomplish an advisory role right
from here in Operations.
KAPLAN
On the contrary, General, I think
his actual presence could prove
crucial. Captain Grant might be
able to forecast something Ali is
going to do, before he does it.
MAJOR-GENERAL
Mr. Kaplan, it's going to be
difficult enough for the Colonel
and his men...
Travis speaks out.
TRAVIS
Excuse me, General. I'll take
him. He could prove useful.
He fixes Grant with a look that says, "Okay, let's see
how you handle the real thing."
54A EXT. AIRFORCE BASE - OPEN JEEP - DAWN 54A
Moving swiftly across the flight line, passing hangars
and military aircraft.
(CONTINUED)
28.
54A CONTINUED: 54A
Travis's Special Forces driver is at the wheel, Travis
in the front seat, Grant in the rear. Grant, windblown
and chilled, seems uncomfortable and nervous, a marked
change from his confident bearing at the Pentagon.
Travis turns in his seat.
TRAVIS
Curious why I didn't vote against
your coming, Captain?
Grant is curious but remains silent.
TRAVIS
Because this whole operation was
your idea, wasn't it? Your little
brainstorm.
The look on Grant's face says it all.
GRANT
That's what I get paid for,
Colonel.
TRAVIS
And my boys get paid for putting
it on the line. I'm not faulting
your ideas, Captain. Like Kaplan
said, under the circumstances it's
a brilliant plan. And crazy
enough that it just might work.
(beat)
Except we know we shouldn't be
doing it in the first place, don't
we?
GRANT
(uncomfortable)
I'm not sure I follow you, sir.
TRAVIS
Then I'll enlighten you. Where
you intel boys fucked up was
cooking up this hare-brained
scheme to put Jaffa on trial in
the first place.
GRANT
You're mistaken, Colonel. We had
nothing to do with Jaffa's
abduction...
(CONTINUED)
29.
54A CONTINUED: (2) 54A
TRAVIS
Oh, horse shit. I know a hell of
a lot more about what goes on in
your world than you think. It was
a C.I.A. op, an executive decision
from the beginning. We both play
for the same team, Captain. The
only difference is, you don't have
to pull the trigger.
GRANT
I had no involvement with that
operation, Colonel.
(beat)
But I agree with it in principle.
Jafa is an international criminal
and had to be brought to justice.
Men like that have to know they're
not beyond the reach of the law.
TRAVIS
Law? The only law animals like
Jaffa and Ali understand comes
from the end of a gun.
(beat)
You should have killed them all
when you had the chance.
Grant reflects on this.
GRANT
Well, that's all a moot point,
isn't it? No matter what, Jaffa
is home free.
A cold look from Travis.
TRAVIS
Don't count on it, Captain.
The Jeep pulls to a halt beside a massive hangar, just as
a CH-46 HELICOPTER ROARS INTO VIEW over the top, quickly
settling to the tarmac, Travis and Grant turning to avoid
the prop wash.
Emerging from the helicopter are seven men, wearing watch
caps, dark green pullovers, black cargo-pocketed pants,
and light weight, crepe-soled boots. Quickly they unload
dark duffel bags and ABS plastic suitcases.
Travis swings from the Jeep, leaving Grant behind, making
his way to the team. They cluster momentarily, Travis
warmly greeting them.
(CONTINUED)
30.
54A CONTINUED: (3) 54A
Grant sees a very close-knit, highly motivated and
bonded team, but he sees as well the fear in their eyes,
the adrenaline rush, and as they glance towards him, the
automatic distrust of outsiders.
TRAVIS
(shouting)
Outstanding, gentlemen. Any
problems?
One of the men, BAKER, good-natured, wide beaming face
speaks up.
BAKER
(shouting)
Almost missed Cappy. Caught him
in his driveway, pole in his hand,
headed for the Keys.
Travis looks across at CAPPY, 48, black, lean, chiseled,
intelligent features, wearing in contrast to the others a
black insulated jumpsuit, covered with dozens of pockets
and pouches. On his head is a floppy fatigue hat, several
trout flies in the brim.
CAPPY
(shouting)
Damn near made it, too.
Several of the men look up, seeing Grant as he
approaches. Travis turns, looking at Grant.
TRAVIS
Boys, this is Captain Grant, I.S.A.
He's along in case we get into any
serious trouble. Let's go. We'll
brief in flight.
The men pick up their gear, walking towards the hangar.
Another of the men, a wiry, intense Chicano, nicknamed
"RAT" for his expertise in surreptitious entry, looks
around him, searching for something.
RAT
Colonel, I don't see the support
van. Are we takin' it?
TRAVIS
Not this time, Rat. We're
traveling light.
The huge doors begin to part...
31.
55 INT. HANGAR (AIR FORCE BASE) - DAY 55
As the DOORS RUMBLE open, the men walk forward, casting
long backlit shadows before them as they step through the
hangar doors.
They stop, staring at something inside the cavernous hangar.
BAKER
What the hell is that?
CHARLIE
(pilot's drawl)
Well, it ain't made the cover of
Popular Mechanics.
55A REVERSE ANGLE 55A
we see a hawk-like aircraft of black, anodized titanium,
so rakish and streamlined it looks almost in flight just
sitting on the ground. A flight crew, finishing last
minute services and checks on the high-tech bird, remove
their service equipment, the pilots entering the craft.
As the team approaches the plane, Cahill appears from
inside. He calls out to Travis, gesturing towards the men.
CAHILL
(shouting)
Too much weight! Never designed for
this many -- never get off the ground!
(beat)
And we're running late. For every
minute we're here, we have to make
up ten in the air. Got to go!
Travis turns to the men, pointing to the equipment.
TRAVIS
(shouting)
Cut it down! Close-quarter
weapons, bomb kit, detection and
surveillance gear, and the sleep
agent. Dump the rest! Let's go!
Immediately the team begins digging through the equip-
ment, taking only the essential items, leaving the rest
on the hangar floor. As Travis and Grant stand next to
each other, Travis's Driver appears.
DRIVER
Sir, I have your call to S.A.S
command in London. 'Cousin Reggie'
is on the scrambler.
Grant seems very curious as Travis takes the call on a
SAT-COM briefcase unit, but Travis's words are drowned
out as the powerful ENGINES on the jet begin to POWER UP.
32.
56 EXT. RUNWAY - DAY 56
The delivery plane has taxied into position and held,
ENGINES WHINING. The plane pivots hard, aiming down the
runway, the ENGINE REVVING to FULL BURNER, heat waves
OBSCURING FRAME as the jet accelerates...
57 OMITTED 57
57A INT. MILITARY BASE (ENGLAND) - PRISON CELL - DAY 57A
Where in the dim light of the cold cell, Jaffa sits on
his bunk, dressed in gray overalls. Suddenly the heavy
steel door swings open and several American MPs enter,
pulling Jaffa to his feet, putting him in handcuffs. As
the startled Jaffa is led from his cell, he sees an
American diplomat, staring at him coldly from the
hallway. As he's ushered down the hall, Jaffa realizes
something significant has taken place.
58 EXT. ENGLISH COUNTRYSIDE (NEAR LONDON) - DAY 58
A convoy of U.S. and British military vehicles flies
past on a country highway, the access roads blocked by
military police. A sign reading: "LONDON 150km" is
seen in the f.g.
In the third vehicle from the lead, Jaffa sits in an
armored Range Rover, surrounded by soldiers, the diplo-
mat seated beside him.
59 INT. DELIVERY PLANE - DAY 59
We PULL BACK to reveal the interior, spartan but func-
tional. Fold-down jump seats accommodate the team, the
rear of the jet devoted to racks of miniaturized elec-
tronic and navigational gear. The predominant feature
of the jet, however, is the dome-like appendage swelling
from the ceiling near the cockpit. A pressurized hatch
is located in the center of the dome, surrounded by a
series of gauges, levers and switches.
The ship is intermittently buffeted by turbulence,
obviously not the best of flying conditions. The men
are intense and highly focused as they listen to
Travis' briefing of the bizarre mission they are about
to undertake. Grant is obviously the outsider, sitting
near the rear of the aircraft.
(CONTINUED)
33.
59 CONTINUED: 59
TRAVIS
The stakes are high on this one,
gentlemen, the most important
mission we've ever been handed.
This assault is untested and
carries more than the usual element
of chance, but under the
circumstances, it's the only chance
those people on board have.
A quick look to Grant, then to Cahill.
TRAVIS
Otherwise, it's a standard
suppression op, just as if we had
boarded on the ground.
(beat)
All right, let's go through it.
Baker.
Baker turns to a video screen, part of a portable high-
tech communication and tracking system. He plots a
simulated course, showing an intercept point of the 747
and the delivery plane over the Atlantic.
BAKER
The 747's transponder and radar
is off, but the E2 now has a fix
on them. Our intercept should be
about here, roughly an hour out of
London.
(beat)
That gives us four hours on board
before she reaches the hundred
mile limit.
TRAVIS
Give me that schematic.
Baker snaps an exploded-view cell, showing the 747 in
intricate detail, into a light box. The team studies
the glowing, back-lit schematic.
TRAVIS
Grant, you're up after Baker, find
a hole and sit tight while Baker
sets up the intercom link with the
Pentagon. Sleep-agent is next.
Rat, five bottles on the port
manifold, Charlie, five on
starboard.
Grant's voice breaks in, drawing several annoyed looks
from the men.
(CONTINUED)
34.
59 CONTINUED: (2) 59
GRANT
Excuse me, Colonel... You're
using sodium chloral-hydrate?
TRAVIS
(surprised)
You've done your homework. Any
problems with that?
GRANT
In the tests of S.C.H. I've been
briefed on, the effects on most
subjects was a gradual drowsiness
for about thirty seconds before
unconsciousness.
TRAVIS
(curious)
Correct. What's your point?
GRANT
Thirty seconds may be too long.
Ali is highly intelligent, acts
instinctually, by nature suspicious
of everything. The slightest
indication his mission has been
comprised could result in a
disastrous reaction on his part.
Travis considers this.
TRAVIS
Good point. Baker?
BAKER
I can increase the saturation.
It'll put 'em out instantly but
it's pretty risky. We could lose
someone before we cycle the gas
out.
Travis looks at Grant.
TRAVIS
Increase it. We'll take the chance.
Catman, you ready to fly it?
CATMAN, smooth, confident, a pilot's manual for a 747
open on his lap, looks up.
(CONTINUED)
35.
59 CONTINUED: (3) 59
CATMAN
Once we clear the flight crew from
the cockpit, no problem. Should
be on auto pilot but even if it
isn't, plane pretty well flies
itself.
TRAVIS
Once we've got control, Rat, you
and Cappy start the sweep through
the forward baggage compartment.
If we find a bomb we divert.
Baker.
CATMAN
(checking his map)
S.A.C. base at McNeil, Greenland
is our best bet.
RAT
And if this bitch has a short fuse?
Cappy, resolved, opens a folding, three-sectioned soft
case containing a fantastic array of miniature bomb tools.
He looks up.
CAPPY
Well then, I guess your asses are
all mine.
A sober moment passes through the group.
TRAVIS
All right. That's it. See to
your equipment.
Grant looks over at Cahill, busily at work on a small,
calculator-like device.
GRANT
Last minute calculations?
CAHILL
(sheepishly)
No. Three-dimensional chess. I
don't do well with flying. Have
to keep distracted.
The Pilot's voice breaks in, heard OVER SPEAKERS in the
cabin.
(CONTINUED)
36.
59 CONTINUED: (4) 59
PILOT (V.O.)
The E-2 is vectoring us into an
intercept with the 747 now.
Estimating contact in thirty-eight
minutes.
Anxious faces look up and then the team returns to
packing and preparing equipment.
Travis, near the cockpit, is busily typing on a satellite
transceiver unit, a high-tech computer phone unit, housed
inside a black aluminum case. He enters a command and a
small plastic strip, a magnetic code key, emerges from a
slot. He closes the case, motioning for Grant.
TRAVIS
You'll run the intel-board, mikes,
microwave scanners and video
probes. Things run to plan,
you're just along for the ride.
He gives Grant the mag-key, matter of factly.
TRAVIS
Hang on to this. Access key for a
scrambled transmission I'm
expecting. Little arrangement with
Cousin Reggie in England. You'll
need this to patch me through.
Code name is 'Executive Decision.'
Grant nods, putting the code-key deep inside his shirt
pocket. Travis looks at him, studying him. He grins.
TRAVIS
By the way, good call on the sleep
agent.
(beat)
You're the expert on Ali. Tell me,
aside from freeing Jaffa and
killing a lot of innocent Americans,
what does he hope to gain from all
this?
GRANT
If the attack on Washington were
successful, sometime in the
aftermath, with Americans at the
peak of their outrage, no doubt
certain undeniable information
would be leaked to the West.
TRAVIS
Leaked?
(CONTINUED)
37.
59 CONTINUED: (5) 59
GRANT
By Ali. Set up before his suicide.
Information implicating the country
who supplied Ali the nerve gas, the
bomb, the diplomatic support needed
to get the highjackers on board.
So damning, so...
TRAVIS
That the U.S. would be forced to
retaliate.
GRANT
In Ali's mind, hopefully so swiftly
and devastatingly, maybe even
nuclear, that a Pan-Arabic war
would result, the focus at the only
plausible target in the region,
Israel.
TRAVIS
And restoring Jaffa as a leading
power in the region as well. Very
clever.
GRANT
Inspiration born of desperation.
TRAVIS
Sounds familiar, doesn't it?
They look at each other, a new level of respect for their
situation passing between them.
60 EXT. 747 - DAY 60
The huge plane moves majestically onward on its course
across the Atlantic.
61 INT. 747 CABIN AREA - DAY 61
Silent as a tomb. Terrorists armed with automatic
weapons are stationed at various locations on the plane.
All of the window shades have been pulled down.
A terrorist armed with an automatic weapon, pistol and
grenade, moves slowly down the long corridor, his eyes
glaring at the passengers, who sit terrified, unable to
move or speak.
(CONTINUED)
38.
61 CONTINUED: 61
He passes the mid-cabin area where Ali Hassan and two
others have set up a monitoring station, adapted to the
plane's gutted telephone system, consisting of a SHORT-
WAVE RADIO, over which can be heard a NEWS BROADCAST,
and alongside it, a military field radio.
As the guard nears the front of the plane, he walks
past a terrorist, dragging the two murdered passengers,
now covered in blood-stained blankets, into one of the
forward bathrooms.
We FOCUS ON the PARENTS of Karen and DAVID, whispering
to each other in urgent voices.
WIFE
I want them here, with us.
HUSBAND
No. They're insane. They've
already killed two people. We're
going to sit here...
WIFE
And do what?
The terrorist guard passes by them, then past Karen and
David. As he does, Karen looks across at the two Greek
boys, silent, terrified, the priest beside them deep in
prayer, eyes closed, prayer beads moving through his
fingers. One of the boys notices her, staring back at
her with frightened eyes. Suddenly, on impulse, Karen
stands, moving into the aisle. Her brother reacts,
startled.
DAVID
(under his breath)
Karen! What are you doing! Get
back here!
But Karen stands in the aisle, holding out to the Greek
boy a Nintendo game, the boy remaining frozen, staring
at her.
Two rows back, Karen's mother looks up, seeing Karen in
the aisle, starts to rise when her husband's hand comes
down firmly on her arm.
HUSBAND
(stern whisper)
No! Don't move.
Slowly they lean out, trying to get Karen's attention
without alerting the guard.
(CONTINUED)
39.
61 CONTINUED: (2) 61
As Karen holds out the game, the Greek boy reaches out
to accept it... A gun barrel flashes INTO VIEW, the game
snatched from her hand. Terrified faces freeze in place,
priest, children, parents, passengers, as the terrorist
guard stares at the game. Angrily he shoves Karen aside,
shouting at her in Arabic. As Karen begins to cry, her
father, unable to restrain himself, lunges from his chair.
FATHER
You son of a...
The terrorist spins, slamming the butt of his rifle into
the father's chest, driving him back into his seat.
Instantly the barrel of the rifle is pressed hard into
his windpipe, cutting off his air, the father beginning
to choke. His wife reaches out, desperately, pleading...
WIFE
Please, you're choking him...
Please stop it!
But the terrorist presses harder, an angry sneer across
his face, a very ugly situation about to get worse...
Suddenly a hand reaches out, grasping the gun barrel.
Startled the terrorist looks up into Ali's face. Ali
pulls the gun away, carefully backing the guard into the
aisle, speaking softly to him in Arabic. The terrorist
settles but glares back in anger at the father.
Ali kneels to the floor, picking up the game. He
examines it and then hands it to the Greek boy.
He helps Karen into her seat, speaking to her in English.
ALI
You must stay in your seat.
He gently roughs her hair, looking up into the frozen
faces of her parents, and then into the faces of a
dozen other passengers, all staring at him, humbled with
fear. As Ali looks from face to face he sees, perhaps
for the first time, the people, the human souls, who are
destined to die with him in his desperate statement to
the West. He grows agitated and then speaks out, almost
as a parent to a child explaining why the child must be
punished.
ALI
I am not your enemy.
(beat)
You have been betrayed by your own
leaders... The supporters and
instigators of the Zionist occupation
of my homeland.
(MORE)
(CONTINUED)
40.
61 CONTINUED: (3) 61
ALI (CONT'D)
(beat)
I am but an instrument of God, a
messenger of his will. In my hand
he has placed the Sword of Islam
and commanded me...
He stares into the frozen faces, paralyzed in fear.
He relaxes, smiles slightly.
ALI
But you have nothing to fear. God's
mercy is bestowed upon the innocent
and the righteous.
With a last look he turns and moves down the aisle.
62 INT. FORWARD GALLEY AREA - DAY 62
Fran, Nancy and two other attendants, sit in their jump
seats. Fran warily eyes the terrorist as he passes by,
the others averting him altogether. Fran turns to Nancy,
sitting next to her, obviously still deeply shaken by the
murders she witnessed earlier.
FRAN
(whispering)
Judy's been down there for four
hours. They wouldn't have left
her there alone. Something's
wrong.
NANCY
(whispering; terrified)
Oh God, Fran, be quiet. They're
crazy...
Sensing someone's presence, Nancy looks up, the words
freezing in her throat as she looks into Ali's face.
ALI HASSAN
You will bring food for my men.
Now.
Nancy, frozen with panic, closes her eyes, unable to
move or speak. Ali leans in closer.
ALI
I said, bring food for my men...
But then Ali looks up, seeing the empty clipboard that
once held the passenger manifest.
(CONTINUED)
41.
62 CONTINUED: 62
He removes the clipboard, studying it, Fran's eyes
momentarily going to the trash bin where she hid the
manifest.
ALI
(to Nancy)
The passenger manifest. Where is
it?
Startled, Nancy looks up. She has no idea where it is.
Ali leans in closer, his face inches from Nancy, now
trembling in fear.
ALI
(menacing)
I will not ask you again. Where
is the manifest?
Fran's voince breaks the tension.
FRAN (O.S.)
I destroyed it.
Ali stands back, scrutinizing Fran.
ALI
(bemused)
Destroyed. How?
FRAN
The toilet...
ALI
I see. And why?
Fran hesitates a moment.
FRAN
To protect the passengers.
ALI
(smiles)
To protect the Jews.
He moves closer, scrutinizing her, his eyes deeply
penetrating hers.
ALI
(quietly)
Or, someone else...
Fran is terrified out of her wits but holds her ground.
Slowly, Ali backs away, eyes still probing her for the
slightest betrayal.
(CONTINUED)
42.
62 CONTINUED: (2) 62
ALI
Brave, but a very stupid, foolish
thing to do.
(stares at her)
And totally unnecessary.
He replaces the clipboard. He gestures to Fran.
ALI
You will bring food for my men.
FRAN
(calmly)
What about the passengers? They've
had nothing to eat or drink...
ALI HASSAN
(smiles)
No food, only drink.
(beat)
And, they may use the rear bathrooms,
accompanied by a guard. Any
suspicious movement, they will be
shot.
(beat)
See, I am a generous man. You are
free to move about the cabin. But,
no more mistakes. Understood?
FRAN
(softly)
Yes. Thank you. I'll have to use
the elevator.
Carefully she turns and opens the elevator door. As she
steps inside, Ali stops her, motioning for one of the
terrorist guards to accompany her.
ALI
No more mistakes.
63 INT. 747 LOWER GALLEY - DAY 63
The elevator door opens and Fran emerges, followed by
the guard. Immediately her eyes go to the limp form
of Judy, lying against the food carts. She starts to
move to her side, but the guard stops her with the
barrel of his weapon. Slowly she pushes it aside.
FRAN
(quietly weeping)
Do what you want, I'm going to
cover her body.
(CONTINUED)
43.
63 CONTINUED: 63
She turns away from him, taking a blanket from an
overhead storage compartment. She kneels, a last look at
her friend before covering the body. As she stands and
turns toward the food carts we see that her eyes, filled
with tears, also blaze with anger and hatred.
64 INT. DELIVERY PLANE - DAY 64
Rat attaches a pressure valve to a small stainless steel
cylinder, labeled: "GAS AGENT: SODIUM CHLORAL-HYDRATE."
He re-locks the valve, replacing the cylinder into a
circular, foam-filled nylon carrying case.
Beside him, Charlie opens an aluminum case, marked with
a wide red stripe. Enmeshed in foam is an array of
highly specialized weapons: a four-shot, high-powered
taser unit, equipped with Teflon barbs; lethal-looking
hand shotguns mounted on heavy pistol grips; a short-
barreled impact cannon with several rubber-tipped shells.
Cahill, studying the team, turns to Travis, eyeing the
.22 Beretta automatic strapped to his chest.
CAHILL
Why all the guns?
TRAVIS
Hope for the best, plan for the
worst, Cahill.
RAT
Don't sweat it, they're all
high-impact, close-quarter
weapons.
A warning light flashes on, announced by a BUZZER. The
pilot's voice is heard.
PILOT (V.O.)
Target acquisition, twenty-five
miles and closing. Initiating
approach system. Stand by.
The men quickly stow their equipment, putting on their
closed-circuit communications units, consisting of
headsets and microphones. Cahill nervously motions to
Travis, and Grant to approach the cockpit.
CAHILL
Once the tunnel is pressurized,
I'll open the hatch to the 747.
When you're inside, I'll go back
up and lock it.
(CONTINUED)
44.
64 CONTINUED: 64
Travis interrupts.
TRAVIS
As soon as the hatch to the 747 is
open, an alarm will activate in the
cockpit. We have to lock off that
switch within seconds or run the
risk of being discovered. Just
explain the procedure to Baker...
CAHILL
(adamant)
You don't understand. Opening the
final hatch is complicated, every
phase critical. I can't just tell
someone how to do it. Unless I
can ascertain that the seal is at
the proper vacuum, you may not have
any mission left to accomplish.
Travis considers this, Grant carefully studying him.
TRAVIS
Okay, Cahill. You make your
inspection and open the hatches.
But Baker is going to be right
there behind you. As soon as the
747 is open, you haul ass inside
so Baker can lock off that switch.
CAHILL
But...
TRAVIS
Then, when we're on board, you can
climb back down and close the
hatch.
Cahill is obviously not pleased with the idea of going on
board the 747, even for a few minutes, but Travis has the
final word.
CAHILL
(hesitant)
All right, but while the pressure
locks are open, both planes are
vulnerable to explosive
decompression. Move fast. This
was designed to be carried out
with both planes on automatic
pilot.
TRAVIS
Add it to the list.
(CONTINUED)
45.
64 CONTINUED: (2) 64
The pilot's voice breaks in.
PILOT (V.O.)
Target sighted, initiating approach
on infra-red.
They move forward into the cockpit.
65 INT. COCKPIT DELIVERY PLANE - DAY 65
Through the windshield can be seen the 747 as the
delivery plane approaches from the rear.
The CO-PILOT pulls down a transparent screen, covering
the mid-section of the windshield. He activates an
infra-red viewing field, revealing the wind-foil patterns
flowing over the wings and along the body of the 747,
leaving streaming contrails in its wake, the engines
glowing red-black.
CAHILL
An infra-red imaging device. The
air flow of heated molecular
particles, surrounding the plane.
Suddenly the plane pitches and rocks, encountering a
pattern of turbulence as they enter the wake of the 747.
Moments later, as if through parting clouds, we see a
channel appear, a clear spot underneath the belly of the
plane.
CAHILL
There, the 'sweet-spot.' A valley
of dead air, like the eye of a
hurricane.
They stare in awe as the tiny plane is slowly engulfed
by the huge mass of the 747 above it.
66 EXT. 747 - NOSE - DAY 66
MOVING DOWN the cockpit of the massive hull, seeing the
crew inside, PANNING ACROSS the nose of the plane and
below.
Slowly, appearing from below, the delivery plane, dwarfed
by the huge 747, RISES INTO VIEW, moving forward.
46.
66A INT. COCKPIT - 747 - DAY 66A
The flight crew quietly monitoring the aircraft's con-
trols and instruments as the craft is buffeted by tur-
bulence, the terroist guard seated directly behind the
captain on a jump seat. The plane is on automatic pilot,
the crew totally unaware of the delivery plane's
presence.
67 EXT. 747 - BELLY SIDEVIEW - DAY 67
The delivery plane pulls forward into position,
approaching the nose area. Suddenly, the two planes are
hit by turbulence, the 747 surging downward, the delivery
plane darting quickly away.
67A INT. COCKPIT - DELIVERY PLANE 67A
The pilot and co-pilot maneuver the tiny plane into posi-
tion beneath the 747. Despite their obvious skill with
the aircraft, they are both incredibly tense, the opera-
tion requiring dead on, precision flying.
68 INT. MAIN CABIN AREA - DAY 68
As it is hit by turbulence, the PARTITIONS, CABINETS
RATTLING with the shock. Ali Hassan looks around him,
a worried look on his face. Suddenly the plane is hit
again, Ali buckling at the knees, nearly falling. He
grabs a cabin phone, beads of sweat forming on his face.
ALI HASSAN
(subtitles)
Ahmed. Order the pilot to climb
out of this turbulence, immediately.
69 INT. 747 COCKPIT - DAY 69
The TERRORIST hangs up the phone, turning to the Captain.
TERRORIST
Begin an ascent to thirty-six
thousand feet.
The Captain turns to the FLIGHT ENGINEER.
CAPTAIN
Turn on the radar.
TERRORIST
No, no radar. Just climb.
(CONTINUED)
47.
69 CONTINUED: 69
CAPTAIN
To do that, we'll need radar.
TERRORIST
No radar!
CAPTAIN
I'm still the captain of this
plane and the safety of these
passengers is my first concern.
I'm not climbing into another air
corridor without radar.
TERRORIST
(shouting)
You will obey!
The Terrorist COCKS his PISTOL, leveling it at the
pilot's head.
CAPTAIN
Then you'd better shoot.
(beat)
Better yet, you know all about
this plane, you do it.
The Terrorist hesitates, staring at the pilot.
70 INT. COCKPIT - DELIVERY PLANE - DAY 70
Recovering from the turbulent air, the PILOT begins yet
another approach. The delivery plane eases toward the
belly of the 757, filling the windshield. Suddenly the
747 drops, the Pilot jerking hard on the yoke, darting
the agile craft away from the plunging mass above them.
PILOT
May have enough fuel for one more
pass. We should break off, find
the tanker and refuel. Your call,
Colonel, but make it quick.
Travis looks back at Baker who consults his tac-board.
He shakes his head, no. Travis turns back to the Pilot.
TRAVIS
Stick it.
PILOT
All right, hold on.
71 EXT. 747 - DAY 71
The delivery plane pulls back into position.
48.
72 INT. COCKPIT - DELIVERY PLANE - DAY 72
The Pilot holding steady, the belly of the 747 filling
the windshield.
PILOT
Extend the sleeve.
Cahill, now seated at his work station beside the hatch,
activates a lever, the SOUND of HISSING AIR as the
hydraulic pumps are switched on.
73 EXT. 747 - DAY 73
The docking tower begins to rise from the delivery
plane, extending toward the belly of the 747, a laser-
beam sighting device scanning along the skin of the plane.
74 INT. CABIN - DELIVERY PLANE - DAY 74
Cahill, at his station, is looking through a viewer while
grasping a control-stick in one hand.
74A POV - BELLY OF 747 SEEN THROUGH VIEWER 74A
Powerful lights play along the hull as the delivery plane
moves forward. A small hatch appears in the viewer. As
the hatch is centered, a red-targeting grid appears over
the hatch. A BEEP is heard.
CAHILL (V.O.)
Steady... steady. You're right
on it... activated!
75 INT. COCKPIT - DELIVERY PLANE - DAY 75
On the screen in the dashboard a target-image appears, a
read-out at the edges indicating closing speed and
distance.
PILOT
I have the target. Prepare for
link-up and lock.
ON the screen, the target grows closer as the Pilot
'lands' the plane into the belly of the 747.
The PILOT'S VOICE cracks over the speaker.
PILOT (V.O.)
Engage! Auto-pilot on.
Cahill instantly pulls a lever, the SOUND of powerful
SUCTION-PUMPS being activated, filling the cabin.
49.
76 EXT. TOWER - DAY 76
As the pumps are engaged, the thick, neoprene collar
draws down tight against the skin of the 747.
77 INT. 747 MAIN CABIN - DAY 77
As another wave of turbulence hits, Ali again grabs the
phone. He is obviously very worried about something.
ALI HASSAN
(subtitles)
Why are we not climbing!
He listens, his face incensed at what he hears. He slams
down the phone, moving towards the front, passengers
reacting with new alarm to the heavy buffeting the plane
is receiving at times.
78 INT. CABIN AREA - DELIVERY PLANE - DAY 78
Cahill quickly reads a series of gauges on the tower,
indicating pressure lock at 5,000 HG IN. A HISS of AIR
as he throws a switch, pressurizing the tunnel.
CAHILL
Primary tunnel is pressurized and
stable. I'm going up.
Travis motions to Baker who moves up behind Cahill,
Baker holding a stainless steel clip in his hand.
TRAVIS
(to Cahill)
As soon as that final hatch is
open, get the hell out of the way.
Cahill nods, then cautiously releases the locking device
on the hatch. He pushes it upward, securing it, exposing
the interior of the tunnel.
79 INT. DOCKING TUNNEL - DAY 79
Cahill climbs up the interior ladder. At the top of the
tunnel is a second pressure hatch, isolating the outside
collar and the skin of the 747. This section as well as
the hatch is made of clear, plastic, enabling Cahill to
physically examine the suction pumps outside.
Cahill studies a series of pressure and vacuum gauges and
then using a flashlight, inspects the suction pumps,
verifying that there is a complete seal with the skin of
the 747.
(CONTINUED)
50.
79 CONTINUED: 79
Just below him, Baker clings to the ladder, poised, ready
to move.
CAHILL
(tense)
Seal looks good. I'm equalizing
the outer chamber.
Carefully he opens a bleed valve, a HISS of AIR as the
final link is pressurized. Cahill studies the gauges,
consulting his watch. Taking a deep breath, he gently
opens the final hatch, swinging it down into the chamber.
CAHILL
I'm opening the hatch...
He opens the hatch, revealing the belly of the 747 and
the avionics hatch, surrounded by the heavy neoprene
vacuum-collar. Cahill releases the locking device on
the 747 hatch, lowering it into the tunnel. Quickly,
urged by Baker, he scrambles up the ladder and inside
the 747 as Baker follows, quickly placing the steel clip
over a switch, closing it.
80 INT. 747 COCKPIT - DAY 80
A flashing yellow light on the dash winks off. The
First Officer thumps it with his finger.
FIRST OFFICER
Short.
81 INT. 747 AVIONICS ROOM - DAY 81
Running crosswise to the plane, the nerve-center of the
aircraft housing the flight recorder, transmitters,
receivers and the main electrical connectors. Cahill
climbs into the room, reaching down to grab a bag.
Below, Travis stands at the ladder, directing the
boarding. Grant follows Baker, who has already begun
attaching a series of electrical leads to the ship's
power supply in preparation for his equipment. Seconds
later, Rat scrambles into the room, followed by Charlie.
But as Charlie enters the hatch, his pack catches on the
clip securing the warning switch, the clip falling unseen
into the door frame.
82 INT. 747 - FORWARD SECTION - DAY 82
Hassan walks towards first class and the stairway.
51.
83 INT. 747 COCKPIT - DAY 83
The light on the dash winks on again, catching the
attention of the Captain and First Officer. The
Terrorist guard, standing behind them, still holding
a gun on the pilot, also notices the light.
TERRORIST
What is that light?
The First Officer thumps it with his finger.
FIRST OFFICER
Warning light, indicating an open
hatch in the avionics room.
CAPTAIN
Which is impossible with the plane
pressurized. Must be a short.
TERRORIST
Where is this room?
FIRST OFFICER
About ten feet below us.
84 INT. AVIONICS ROOM - DAY 84
Rat grabs a case from the tunnel, swinging it inside.
As he turns back he sees the open switch on the hatch.
Frantically he searches for the clip, finding it in the
doorframe. Digging it out with his fingers, he replaces
it over the switch. He looks up at the ceiling as if in
anticipation...
85 OMITTED 85
thru thru
87 87
88 INT. COCKPIT - DAY 88
The yellow light on the dash winks off again.
CAPTAIN
Off again. Got to be a short.
Just then the plane is buffeted by turbulence, Ali
stumbling into the room. He seems highly agitated.
ALI
Why are we not climbing?!
52.
89 INT. AVIONICS ROOM - DAY 89
The team waits a moment for the buffeting to cease and
then Charlie reaches down into the tunnel, pulling up one
of the electronics cases.
Cappy has just cleared the hatch and is starting to rise
to his feet, both hands on equipment bags, when the PLANE
is HIT by windshear, a sudden and VIOLENT SHOCK as the
plane falls several hundred feet before it bottoms out
on solid air.
With the impact, Rat is thrown off balance, his body
slamming into Cappy, sending him airborne across the
narrow room.
89A CAPPY'S POV OF ROOM 89A
A DIZZYING RAPID DOLLY TOWARDS an electrical panel con-
taining the high voltage bus bars and circuit breakers
for the aircraft's heavy electrical system.
89B BACK TO SCENE 89B
Cappy, arms forward, smashes into panel, his right hand
splintering a plastic safety cover protecting a huge,
high voltage fuse, a blinding EXPLOSION of sparks and
flames as his hand hits the fuse. Instantly, Cappy is
blown backwards, the back of his neck slamming into the
corner of a steel equipment rack. He falls to the floor,
his hand smoking, his sleeve on fire.
Baker leaps on Cappy, smothering the fire with his body,
Cappy's face in contorted, agonizing pain, barely resist-
ing the primitive urge to scream.
90 INT. 747 COCKPIT - DAY 90
As the Flight Engineer throws a series of switches, pro-
viding backup power to the cabin lights, blown by the
fuse.
PILOT
What the hell...
FLIGHT ENGINEER
Damned if I know. We blew
something big.
90A INT. DELIVERY PLANE - CARGO AREA - DAY 90A
A MASSIVE SHOCK hits the plane, knocking Catman, and
Doc to the floor. Travis looks up into the tunnel, be-
ginning to climb.
53.
90B INT. 747 COCKPIT - DAY 90B
The Captain is arguing with Ali Hassan.
CAPTAIN
... I'm telling you, without radar
I can't climb into another corridor
filled with east-bound traffic.
But if we hit another pocket of
windsheer, we could fall ten,
twenty thousand feet...
As another wave of TURBULENCE HITS, Hassan looks around
him, at the airframe and then to the pilots.
ALI HASSAN
Climb. Turn the radar on.
Suddenly the other Terrorist interjects.
TERRORIST
(subtitles)
Ali. It's a trick. We turn on
the radar, they can find us.
They'll discover us when we turn
back. The plan was not to...
ALI HASSAN
(to Captain)
Climb. Now. Turn on the radar.
The Flight Engineer switches on the radar. Ali's lieu-
tenant is obviously enraged at this infringement of their
plans.
CAPTAIN
Stand-by, we're climbing...
He begins to pull back on the controls...
91 INT. COCKPIT - DELIVERY PLANE - DAY 91
As a WARNING BUZZER SOUNDS. The Pilot checks his
instruments.
PILOT
Load on the sleeve increasing...
Jesus, they're climbing!
He grabs the stick...
54.
91A INT. TUNNEL - DAY 91A
Travis, nearing the top of the tunnel when the PLANE is
HIT by a sudden buffeting, knocking him from the ladder,
just as two of the heavy equipment cases fall from above,
wedging in the tunnel just above him.
92 OMITTED 92
93 INT. COCKPIT - DELIVERY PLANE - DAY 93
A SHRILL ALARM sounds as the plane pitches violently to
starboard.
CO-PILOT
We're losing pressure on number
six pump. Go with him, keep
climbing!
94 EXT. 747 - DAY 94
The delivery plane sags sharply to starboard, STRESSING
the sleeve and the docking seal. The PLANE begins to
BUFFET and CHATTER wildly.
95 INT. AVIONICS ROOM - DAY 95
Grant, nearest the tunnel, struggles to pull the cases
from the tunnel when there is a LOUD HISSING of AIR as
one of the pumps begins to fail. Cahill pushes his way
INTO the SCENE, looking down into the tunnel.
CAHILL
(panic)
We're losing the seal! Hurry!
With a combined effort, Charlie, Rat and Grant, pull
the gear from the tunnel and onto the floor, as Cahill
stares into the tunnel, frozen, listening to the increas-
ed VOLUME of HISSING.
Grant frees the last of the gear, seeing Travis, fighting
to climb up the ladder. Grant extends his arm.
GRANT
Colonel!
The HISSING INCREASES, the seal threatening to go. Travis
looks up, realizing...
TRAVIS
Close the hatch!
(CONTINUED)
55.
95 CONTINUED: 95
Grant hesitates, still extending his arm.
TRAVIS
We're losing it! Close the
god-damned hatch...
With the SCREAM of the failing SEAL increasing by the
second, Travis scrambles down the tunnel...
96 INT. CABIN DELIVERY PLANE - DAY 96
Travis at the bottom of the tunnel, grabs for the hatch
when ANOTHER BUFFETING knocks him aside. He recovers,
grabbing the release. As he does he looks up, eyes
locking with Grant's, a frozen moment, a look from Travis
as if he were entrusting the rest of the mission to Grant.
And then...
TRAVIS
Close the hatch!!!
Hesitant but obeying, Grant reaches down, closing the
hatch to the 747...
But as Travis pulls the lower hatched closed, the delivery
plane pulls free from the 747.
The escaping pressure turns into a SCREAM of AIR, followed
by a THUNDEROUS EXPLOSION that rips through the plane.
As the tower tears loose, the implosion sucks Travis
through the tower as if a leaf in a gale.
97 EXT. DELIVERY PLANE - DAY 97
Pulls violently away from the 747 and begins to tumble
out-of-control as it falls a thousand feet, the TOWER
RIPPING apart, followed by one of the wings. An instant
later, the plane disintegrates.
98 EXT. E2-HAWKEYE RADAR PLANE - DAY 98
Flying on station, tracking the 747 and the delivery
plane. We GO IN ON the revolving radar dish.
99 INT. E2-HAWKEYE RADAR CENTER - DAY 99
An OPERATOR sits in front of a radar screen, surrounded
by a complex array of radar equipment. On the screen
we see the strong, steady blip of the 747, and the fading
blip of the delivery plane.
(CONTINUED)
56.
99 CONTINUED: 99
OPERATOR
They're gone.
100 INT. PENTAGON - OPERATIONS CENTER - DAY 100
The crisis team is fixated on the overhead screen,
plotting the course of the two planes, the course of the
delivery plane fading, dropping away. In a moment it
blinks from the screen.
A RADIO TRANSMISSION from the E2 breaks the stunned
silence.
E2-OPERATOR (V.O.)
Castle Rock, this is Big Eye-6.
We have lost all contact with Hail
Mary.
The Major-General picks up the microphone.
GENERAL
Big Eye-6, this is Castle Rock.
Was delivery accomplished?
E2-OPERATOR (V.O.)
Castle Rock, I can't say. Hail
Mary was attempting delivery when
contact was lost.
A moment of silence, broken by the Director's voice.
DCI
(quietly)
Something must have failed with
the airlock and they depressurized.
Kaplan turns away from the overhead screen, his eyes
cold and hard. He addresses |
